The 120 Days of Sodom, or the School of Libertinage is a novel by the French writer and nobleman Donatien Alphonse François, Marquis de Sade. Described as both pornographic and erotic, it was written in 1785

The 120 Days of Sodom is the Marquis de Sade's masterpiece. A still unsurpassed catalogue of sexual perversions and the first systematic exploration of the psychopathology of sex, it was written during Sade's lengthy imprisonment for sexual deviancy and blasphemy and then lost after the storming of the Bastille during the French Revolution in 1789. Later rediscovered, the manuscript remained unpublished until 1936 and is now introduced by Simone de Beauvoir's landmark essay, 'Must We Burn Sade?' Unique in its enduring capacity to shock and provoke, The 120 Days of Sodom must stand as one of the most controversial books ever written, and a fine example of the Libertine novel, a genre inspired by eroticism and anti-establishmentarianism, that effectively ended with the French Revolution.

The 120 Days of Sodom by Marquis de Sade relates the story of four wealthy men who enslave 24 mostly teenaged victims and sexually torture them while listening to stories told by old prostitutes. The book was written while Sade was imprisoned in the Bastille and the manuscript was lost during the storming of the Bastille. Sade wrote that he "wept tears of blood" over the manuscript's loss. Many consider this to be Sade crowing acheivement.

A NEW, BEAUTIFULLY ILLUSTRATED EDITION OF THE SUNDAY TIMES NUMBER ONE BESTSELLER, PUBLISHED ON ITS TENTH ANNIVERSARY. 'Witty and erudite ... stuffed with the kind of arcane information that nobody strictly needs to know, but which is a pleasure to learn nonetheless.' Nick Duerden, Independent. 'Particularly good ... Forsyth takes words and draws us into their, and our, murky history.' William Leith, Evening Standard. The Etymologicon is an occasionally ribald, frequently witty and unerringly erudite guided tour of the secret labyrinth that lurks beneath the English language. What is the actual connection between disgruntled and gruntled? What links church organs to organised crime, California to the Caliphate, or brackets to codpieces? Mark Forsyth's riotous celebration of the idiosyncratic and sometimes absurd connections between words is a classic of its kind: a mine of fascinating information and a must-read for word-lovers everywhere. 'Highly recommended' Spectator

Like many modern-day Christians, Dr. Collins struggled with what seemed to be a clash between his belief in the Bible and the research regarding ancient history--a crisis of faith that inspired him to embark on an expedition that has led to one of the most exciting finds in recent archaeology.

A dark and masterful portrait of a generation in crisis, from one of the most exciting young voices in international literature The world had been theirs in the late 90s: they were the young provocateurs behind a countercultural scene, digital bohemians creating a new future. But fifteen years later, Duke, the leader and undisputed genius of their group, has been murdered, and the three remaining members of their circle reunite to piece together what became of their lives and how they fell so short of their expectations. Now in their thirties, Aurora, Antero, and Emiliano have succumbed to the pressures of adulthood, the exigencies of carving out a life in a country that is fraying at the seams. Reunited after years of long-held grudges and painful crushes, the three try to resurrect the spirit of the all-night parties and early morning trysts, the protests and pornography of their youths. Lurking over them, as they puzzle out their fates, is the question of whether or not there is a future for them to believe in, or if the end has already arrived. Twenty After Midnight is a portrait of the first generation of the digital age, a group that was promised everything but handed a fractured world. Daniel Galera has written a pre-apocalyptic tale of millennial longings.

"This is the first book to examine the cultural history of Marquis de Sade's (1740-1814) philosophical ideas and their lasting influence on political and artistic debates. An icon of free expression, Sade lived through France's Reign of Terror, and his writings offer both a pitiless mirror on humanity and a series of subversive metaphors that allow for the exploration of political, sexual, and psychological terror. Generations of avant-garde writers and artists have responded to Sade's philosophy as a means of liberation and as a radical engagement with social politics and sexual desire, writing fiction modelled on Sade's novels, illustrating luxury editions of his works, and translating his ideas into film, photography, and painting. In The Sadean Imagination, Alyce Mahon examines how Sade used images and texts as forms that could explore and dramatize the concept of terror on political, physical, and psychic levels, and how avant-garde artists have continued to engage in a complex dialogue with his works. Studying Sade's influence on art from the French Revolution through the twentieth century, Mahon examines works ranging from Anne Desclos's The Story of O, to images, texts, and films by Man Ray, Pier Paolo Pasolini, Guillaume Apollinaire, Jean-Jacques Lebel, and Peter Brook. She also discusses writings and responses to Sade by feminist theorists including Angela Carter and Judith Butler. Throughout, she shows how Sade's work challenged traditional artistic expectations and pushed the boundaries of the body and the body politic, inspiring future artists, writers, and filmmakers to imagine and portray the unthinkable"--

Everyone knows what sadism is, but nobody chooses to read De Sade. Nor must they, as we have now taken the collected graphics from 4000 book pages, and put them together without the text.

Beneath the extreme, taboo-breaking surface of 'Salo' (a controversial and scandalous film made in 1975), Gary Indiana argues that there's a deeply penetrating account of human behaviour which resonates as an account of fascism and as a picture of the corporate world we live in. 'Salo' was Pier Pasolini's last film (he was murdered shortly after completing it). An adaptation of Sade's vicious masterpiece, it is an unflinching, violent portrayal of sexual cruelty which many find too disturbing to watch.